Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

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Reviews

'An altogether first-class collection of Poulenc's very individual chamber music output played with real sensitivity … .outstanding performances. The whole issue wins my enthusiastic recommendation: it bids fair to become the undisputed yardstick for the future.' (Gramophone)

'A set which will surely and deservedly be popular.' (BBC Music Magazine)

'Thoroughly excellent' (The Observer)

'Entrancing. It's hard to select the choicest treasures from this jewel box of Poulenc's most witty and vivacious, hauntingly melodic and touchingly heartfelt music, especially when it is played with such effervescence and devotion as here. The two masterpieces are the Sextet for Piano and Winds (1932) and the delectable "Mozartian" Trio for Piano, Oboe and Bassoon, played with dashing elan and soulful lyricism by the pianist Ian Brown and the Nash's brilliant wind principals. Richard Watkins's long-breathed account of the moving Elégie in memoriam Dennis Brain (1957) and Paul Watkins's noble-toned playing of the Cello Sonata (1940/48) are exceptional. But there is rapture, elation, zany high spirits in all of this music, dazzlingly played by the Nash Ensemble. Buy, buy, buy!' (The Sunday Times)

'It would be hard to imagine more consistently on-target presentations of Poulenc’s chamber music or more appropriate sound reproduction. Highly recommended' (Fanfare, USA)

'Thirteen pieces lovingly brought to life by the Nash Ensemble. For once, the word 'jewel-box' for the CD container sounds about right.' (BBC CD Review)

'Those who treasure performances of this music should hear this recording to discover the insights which the very best of today's musicians bring to these scores' (Classical Express)

Introduction

Whilst the composition of more extended movements like those of the Trio was often spread over a number of years, smaller pieces posed Poulenc fewer problems. One such was the Villanelle for piccolo and piano, printed in Pipeaux 1934 – a brainchild of the indefatigable Australian Louise Dyer whose Oiseau-Lyre Paris publications contained seven similar trifles for pipes by Parisian composers of the time.